Mary Lou Lord gave the world her debut LP Got No Shadow in 1998, issued via a since defunct sub-label of Sony. Two decades later this remarkable blend of indie-rock and folk gets a wider, remastered release on Fire. A collection of a baker's dozen of songs drawn from sets that Mary Lou performed for weary commuters passing through London and Boston underground stations; both self-penned and made collaboratively with Nick Saloman of The Bevis Frond. A taut, emotive and bittersweet LP with cameos coming from Money Mark , Elliott Smith and Jon Brion.
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8/10 Horrible Clarence Customer review, 24th September 2018
Got No Shadow by Mary Lou Lord is a bit of buried classic. Her debut album from ’98 featured an enviable cast of musicians from The Bevis Frond’s Nick Saloman, who co-wrote 5 and self-penned a further two more of the tracks on offer, Elliott Smith, Shawn Colvin, Nels Cline, Money Mark, Ethan Johns, John Brion, and Josh Freese.
Nick Saloman’s contribution can’t be underestimated here. His ability to write a catchy melody stands out proudly from the opening Byrdsian jangle of His Lamest Flame to Lord’s version of his classic, Lights Are Changing. Elliott Smith’s influence is audible too – the relationship of the bass and acoustic guitars is familiar.
An early version of Some Jingle Jangle Morning was previously released as a 7” on Kill Rock Stars in 1993, the version here is beefed up compared to the mid-fi early version and arguably loses a bit of its charm because of it. People think it’s about her relationship with Kurt Cobain which has never been proved, there's definitely a drug theme. The title is a play on the Lee Hazlewood and Nancy Sinatra track, Some Velvet Morning. It also includes a version of the folk classic Shake Sugaree which has been covered by loads of people from NY folk legend Fred Neil to Rhiannon Giddens.
It’s a good album and once you’ve bought this you should track down her Martian Saints EP which includes her best song, Salem ’76 and her version of I Figured You Out, an Elliott Smith song which wasn’t released by him until the posthumous reissue of his beautiful and best album Either/Or.
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